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...display of "workshop material" is arranged to emphasize the continuity and development of ideas leading up to the filming of a Disney feature. Beginning with rough sketches of story ideas, the exhibit traces the growth of a film through more elaborate character development and various sketch-experiments in background design fixing the mood of the production...

Author: NO WRITER ATTRIBUTED | Title: Disney Exhibit at Fogg Will Supplement 4 Feild Lectures | 2/15/1939 | See Source »

...Allen put out their second book, More Merry-Go-Round, which contained, among other things, the statements that Justice James Clark McReynolds was "Apparently . . . both stupid [and] lazy," and that "for a man of his sheer ugliness of disposition he has come far." Also in the book was a sketch of Treasury Secretary Ogden Mills, much of which was lifted from a defunct magazine called The Washingtonian. Pearson had edited The Washingtonian for two issues, and obtained permission from Rixey Smith, author of the Mills piece, to use the material. Later he sent Smith a check...

Author: /time Magazine | Title: The Press: Old Men's Turn | 2/13/1939 | See Source »

...other explanation is that sales of Picassos have long been skilfully manipulated and that Picasso, who knows how good he is, has grown rich by not objecting. The merest page from a sketch book of the Toulouse-Lautrec period fetches $200, and there have been at least two sales of paintings in the U. S. for a reputed price of about $25,000 each...

Author: /time Magazine | Title: Art: Art's Acrobat | 2/13/1939 | See Source »

From their pet playwright the glittering audience got only Grade B Coward. One superb, side-splitting burlesque of an English charity pageant is probably the funniest sketch that Coward has ever written. Two of the songs, Mad About the Boy and The Stately Homes of England...

Author: /time Magazine | Title: The Theatre: First-Night Fever | 1/30/1939 | See Source »

Slender, dark, bustling Isabel Bishop, 36, has her studio at Broadway and 17th Street, hard by Union Square. Such paintings as Office Girls begin with a fast sketch done on the street, followed by a carefully composed etching. Models for her final, slowly and delicately built paintings are always girls found in the neighborhood, never professionals. The thing she feels about them and tries to communicate in her painting, she says, is their "mobility in life." the very fact that they do not belong irrevocably to a certain class, that anything may happen to them...

Author: /time Magazine | Title: Art: Bishop's Progress | 1/30/1939 | See Source »

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